TORONTO - Living at this point in the history of cinema is a privilege, thanks to the way we are able to enjoy movies from any previous era while also seeing how cinema continues to grow and change and adapt, and one might be forgiven for thinking that at this point, we've seen it all. It's not true, though, and the proof this year comes from director Alfonso Cuaron, whose new movie "Gravity," his first in seven years, seems determined to actually push the visual language of film forward.

Even better? He actually succeeds at that lofty goal.

On the page, "Gravity" is the very definition of simplicity. Two astronauts are working on a space shuttle when they get a warning that a satellite explosion has now created a field of debris that s moving in an incredibly fast orbit around the planet, and that they are in its path. Before they can do anything about it, the debris smashes into their shuttle, utterly destroying it, stranding the two of them in space. The rest of the insanely-tight 88 minute running time is spent trying to figure out how to survive and, if at all possible, make it back to the surface of Earth.

Co-written by Cuaron and his son Jonas, "Gravity" is something of a magic trick. The title page of the script read "A 3D Space Thriller by Alfonso and Jonas Cuaron," so from the very start, this was designed as an immersive experience more than a conventional narrative, and when I first heard about it, I had a hard time imagining how they would stretch that idea to feature length. Now that I've seen it, I'm having a hard time understanding exactly what I saw. It is increasingly rare that I look at an effects-heavy film and don't know immediately how they did it. With "Gravity," I'm not even sure what was real and what wasn't. A small army of visual effects artists worked on the film, and the result is something that feels both hyper-real and yet also dreamlike. Part of that is the way Cuaron stages long, unbroken shots that move through this spacescape, and part of it is the immersive quality of it, working on you almost subconsciously.

Sandra Bullock plays Dr. Ryan Stone, and she's not an experienced NASA veteran. Instead, she's a specialist who was sent up for a very specific set of experiments, and as we learn eventually, she's also running from her own painful personal past. There is a case to be made for this as a film about one person's need to kill off her own persona so she can be reborn as someone stronger, and Cuaron's imagery makes the subtext feel almost like text. Bullock has never been better than she is here, and I like that Cuaron didn't try to turn her into an action babe. She is human and vulnerable and damaged in places, and watching her gradually wake up to the truth of her situation and have to choose whether she is going to fight or simply fade away, she nails every single emotional beat perfectly. Clooney is Matt Kowalsky, the experienced guy on his last trip into space, and the only reason Stone has a chance at all of getting back to Earth is because of the practical experience that Kowalsky shares with her.

Emmanuel Lubezki has long been one of the most impressive cinematographers working, and I'd love to talk to him about what his job entailed on a film like this where so much of it appears to exist only as virtual space. It's remarkable work, and it features one of the most beautiful, rapturous last shots I can remember, thematically significant but also just visceral in the way it hits you. I think special praise has to be heaped on Steven Price, the composer who also wrote the score for Edgar Wright's "The World's End" this summer. Since Cuaron stays true to the idea that you don't hear sound in space, the mayhem is all staged in an eerie silence, and Price's score works in place of sound effects, creating an emotional barrage that works beautifully. I have a feeling Price is going to be a hot commodity once other filmmakers hear what he's done for this movie, and he deserves it. It's a brilliant score.

Overall, I think this is such a personal, almost meditative experience that there's little more I can say about it without repeating myself or just piling on the hyperbole. Cuaron has always been an interesting director, but with "Gravity," he seems to have shed the bonds of Earth, and we are fortunate enough to be able to follow him into the unknown.
"Gravity" opens in the US on October 4, 2013. Find the biggest damn IMAX 3D screen you can and buckle up.

A respected critic and commentator for fifteen years, Drew McWeeny helped create the online film community as "Moriarty" at Ain't It Cool News, and now proudly leads two budding Film Nerds in their ongoing movie education.

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When I first saw Children of Men (still, along with There Will Be Blood, my favourite film of the noughties) I didn't know who Cuaron was but I got such a visceral feeling of greatness coming off him that I couldn't wait to see what he'd do next.

There is no doubt that this guy is one of the best directors working today, and I'm eagerly looking forward to an all-time classic movie from him, 'cause it's definitely in him.

Great review! I´m very happy for what Cuaron could achieve in this film. He must had to endure a lot of things from the studio exc. This is a breakthrough film...When technology wasn´t ready for it, he invented.. That´s whats genius do.And kudos for Sandra Bullock!! I think in some way she is underestimated as a character actress, cause she makes comedies or " popular" films. And I think she is a great actress. Greetings from Southamerica!I always read your reviews Drew and really appreciate them!

Drew, I'm a little worried after seeing the trailers & some of the "extended scenes" that have been popping up . Especially in the trailer, I can distinctly hear sounds of explosions & collisions, which SHOULD NOT happen in the vacumn of space( and I believe, would make the scenes even MORE horrifying). Is that the case inthe final film. I can fully understand a heavy thumping or ominous music score underneath those scenes, but sound in space, no.

OMFG if I have to read another comment from some over-worked nutjob about how hearing sound in space would be the end of all entertainment in cinema I will lose it. You don't come off any smarter and you don't bring up an original or valid argument. It doesn't matter. Get over it.

From Drew's review, "Since Cuaron stays true to the idea that you don't hear sound in space, the mayhem is all staged in an eerie silence".Cuaron also assured crowds at Comic-Con that the studio added sound effects to the trailers and extended clips, but that the released version would not have any sound effects in outer space.

Trailers are marketing tools, so it doesn't surprise me that there is Space Sound in those. As stated above, Cuaron's actual film stays true to the accuracy of no sound in space.

As much as I love that fact, I do think it's silly to be distracted by it when it occurs. Cinema uses all sorts of tropes that do not exist in real life. We aren't followed around by orchestras which generate musical cues around our every move, but audiences have gotten used to music in film.

Thunder and lightening rarely coincide at the same time in real life, but you see it constantly in film. There are countless more examples of ways in which films do not reflect science or reality. I don't understand why they must.

Steve, I'll never forget the first time I saw Star Wars and I immediately thought, "Man, this movie sucks. Everyone know there's no sound in space, let alone fiery explosions!" And don't get me started on lightsabers! Why can't all movies be documentaries?

There is one truly shocking image in the film, but for the most part, I think it's intense without being graphic. For example, I plan to take Toshi. At eight, he's interested in science and science-fiction, and I think he'll enjoy the film. We'll discuss that image after the movie, and I hope it isn't too strong for him. It's realistic, and so for that reason, I think it's okay.

I'm curious to see if it sets off motion-sickness issues for people. Everyone I know who has that problem has it because of shaky-cam, which seems to do something to the inner-ear in the people who are sensitive about it. This is shot in such a fluid beautiful style that while it is visceral, I'm not sure it will have the same effect.

Thanks, Drew! I'll have to think whether or not my daughter can handle it...

Re: motion sickness - the clip I saw where Bullock is just spinning (and we are too) seemed like it'd do in my wife. But yeah - I hadn't considered the lack of shaky-cam. Whether it makes people motion sick or not will be interesting.

My excitement could not be higher for this film! I think Children of Men is one of the best films I have seen in my life from a visual and technical level. Cuaron is such a tremendous talent, a rarety in an industry full of yes men.